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University of Birmingham. Oleh karena itu, rasanya perlu menganalisis pandangan dunia atau sosial yang menaungi karya sastra tersebut. Strukturalisme genetik oleh Lucien Goldmann merupakan teori yang tepat digunakan untuk menganalisis unsur intrinsik suatu karya berikut struktur di luar karya tersebut yaitu pandangan dunia yang menaunginya. Tulisan ini akan memuat penjabaran langkah analisis karya sastra menggunakan strukuralisme genetik beserta contoh analisisnya.
Kata kunci: karya sastra, strukturalisme genetik, pandangan dunia, analisis karya sastra Pendahuluan Karya sastra merupakan salah satu karya imajiner yang memuat berbagai persoalan hidup antar manusia atau alam.
Tidak jarang karya sastra merupakan hasil dari pikiran pengarang yang didasarkan kepada pengalaman dan pandangan pribadinya yang sekaligus ada unsur hiburan di dalamnya. Altenbernd dan Lewis, dalam Nurgiyantoro, 2. Dengan kata lain, karya sastra bukan hanya berfungsi sebagai hiburan dan pengisi waktu luang semata, tetapi karya sastra juga bertujuan untuk memberikan gambaran pada masyarakat tentang persoalan sebab-akibat.
Berangkat dari pengetahuan di atas tentang karya sastra, alangkah baiknya pengajaran analisis karya sastra di dalam kelas diperkaya dengan analisis kaitan karya tersebut dengan fakta sejarah. Selain merangsang pikiran kritis peserta didik dalam menganalisis karya, mereka pun bisa lebih punya kesadaran kritis dalam mengamati gejolak dan fenomena sosial yang sedang berjalan dimasa kini.
Berawal dari analisis karya sastra, peserta didik dapat mengungkapkan fakta sejarah yang barangkali ditutupi dan bahkan dicoba untuk dihilangkan dimasanya. Efeknya tentu sangat baik untuk generasi seterusnya guna menghindari masa lalu yang kelam terulang kembali pada bangsa tersebut.
Salah satu kerangka teori yang dapat digunakan dalam menganalisis karya sastra dan kaitannya dengan fakta sejarah adalah Strukturalisme Genetik oleh Lucian Goldman. Sekilas Tentang Strukturalisme Genetik Strukturalisme genetik atau nama lainnya strukturalisme historis, memiliki pemahaman bahwa karya sastra dianalisis dari segi historis. Objek formal dari penelitian dengan menggunakan teori ini adalah struktur karya sastra. Namun, menurut Lucien Goldmann, pandangan dunia merupakan sebuah cara pandang mengenai kehidupan yang yang berstruktur, karya sastra tidaklah lepas dari pandangan dunia yang diekspresikannya dan dari struktur sosial yang membentuk dan terkandung di dalamnya.
Faruk, Kesimpulannya dalam strukturalisme genetik yang diperhatikan bukan hanya sruktur intrinsik yang membangun karya, tetapi juga pandangan penulis dan dunia yang menaungi karya tersebut. Penerapan Strukturalisme Genetik dalam Karya Sastra Langkah awal yang dilakukan adalah menentukan variabel-variabel yang membangun karya tersebut. Secara umum ada tiga langkah yang dilakukan untuk menentukan variabel-variabel tersebut yaitu: a.
Menentukan struktur yang membangun karya sastra. Menentukan pandangan dunia seperti apa yang disampaikan pengarang. Menentukan pandangan dunia atau sosial yang menaungi karya sastra tersebut pada saat diciptakan.
Untuk memerjelas pembahasan di atas, penerapan teori ini akan dicobakan langsung kepada karya sastra. Salah satu karya yang cocok dianalisis dengan teori ini adalah sebuah cerpen karya Gao Xinjian pemenang Nobel Sastra tahun berjudul Buying a Fishing Rod for My Grandfather.
Cerpen ini memuat realitas sosial masyarakat yang berada pada rezim yang menyebabkan kemelaratan bagi masyarakat kecil. Ia mengungkapkan kemiskinan yang melanda rakyat pedesaaan dan pembangunan yang tidak merata. Tokoh I membayangkan masa kecilnya dulu yang menurutnya sangat 'sepi' dan 'kosong' karena Ia tidak bebas menjadi dirinya sendiri di masa itu.
Penentuan variabel yang pertama adalah menganalisis struktur yang membangun karya. Pada cerpen karya Gao Xinjian tersebut, tokoh-tokohnya adalah Manusia-manusia yang ada di dalam cerpen ini meliputi Narator I , Grandfather, Grandmother, Wife, Son, Maradona, orang-orang di desa dan kota. Lingkungan alamnya adalah alam yang gersang dan banyak perubahan karena modernisasi.
Lingkungan kultural yang terdapat dapam cerpen antara lain: Sungai, hutan, kampung, jalan aspal, pancingan bambu, pancingan fiberglass, mata kail, senapan, perburuan, memancing, sekolah dan revolusi budaya. Lingkungan sosial: rakyat yang miskin, orang kampung, orang kota dan para perempuan. Relasi oposional yang terbentuk dari semesta imajiner di atas adalah sebagai berikut. Oposisi Kultural: alat pancing bambu dan alat pancing fiberglass; alat pancing lokal dan alat pancing impor; kota dan kampung.
Kesemuanya dibingkai oleh pasangan oposisional yang lebih besar, yaitu modernisme dan tradisionalisme. Oposisi sosial: Orang kampung dan pemerintahan pusat yang totaliter. Penentuan variabel kedua adalah pandangan sosial atau dunia yang terkandung dalam karya sastra tersebut. Peserta didik menentukan pandangan dunia tersebut dari strukur karya serta kutipan di dalam karya tersebut didukung oleh kutipan dari buku atau artikel sejarah yang berkaitan dengan pandangan dunia tersebut.
Mao Tse Tung sendiri anti komunisme Marxisme-Leninisme dan segala yang berhubungan dengan luar negeri bahkan pengetahuan nasional sendiri yang bersifat progresif. He is burning Marxist-Leninist literature publish in China and other countries, destroying progressive books of national and foreign origin.
Fakta sejarah berupa pembakaran buku dan kerjasama China dengan German dituangkan dalam cerpen Buying a Fishing Rod for My Grandfather karya Gao Xinjian ini melalui penuturan tokoh I lewat kehidupan kakeknya pada masa revolusi kebudayaan bergejolak.
In the hills not far from the city, he told me, there used to be wolves, especially when the grass started to grow in the spring. Crazed with hunger after starving all winter, the wolves came into the villages and stole piglets, attacked cows, and even ate young cowherd girls.
Once they ate a girl and left only her pigtails. In the bookburning era of the Cultural Revolution they called it a lethal weapon and confiscated it. He sat on a little wooden stool just staring ahead without saying a word. Xinjian, Kutipan di atas merupakan sindiran bagi rezim Mao Tse Tung dengan revolusi kebudayaannya. Mao sibuk membuat senjata untuk perang sementara rakyatnya kekurangan fasilitas untuk bertahan hidup atau setidaknya mendapatkan makanan yang lebih layak.
Sindiran dilontarkan lewat perandaian berikut ini, as if with a shotgun made of German steel he could shoot something more than rabbits. Selain itu fakta sejarah seperti pembakaran buku dan hubungan yang erat antara China dan German pada masa itu diungkapkan dalam kalimat berikut, In the bookburning era of the Cultural Revolution they called it a lethal weapon and confiscated it.
Kutipan tersebut merupakan kritik yang bersifat anti pemikiran Mao Tse Tung yang sama sekali tidak menguntungkan rakyat kecil. Senjata-senjata buatan German itu sama sekali tidak membawa efek positif terhadap perekonomian masyarakat.
Pembuatan senjata itu tidak lebih adalah pemenuhan kebutuhan Mao untuk mengalahkan Uni Soviet dan menjadikan Cina sebagai negara super power selanjutnya. Tulisan Xinjian sendiri juga mengandung metafora yang menyindir apa yang sudah dilakukan oleh Mao Tse Tung dan orang-orangnya. Fakta ini didapatkan lewat analisis gaya bahasa yang digunakan dan kemudian dikaitkan dengan fakta sejarah dan sosial sebagai bentuk perwujudan analisis strukturalisme genetik. Di dalam teks serigala ini digambarkan suka memakan binatang ternak masyarakat: In the hills not far from the city, he told me, there used to be wolves, especially when the grass started to grow in the spring.
Xinjian, 66 Jika dilihat informasi dari luar melalui intertekstualitas dengan teks lain, ditemukan fakta yang sama mengenai aksi di atas. Dengan perut kosong yang hanya diisi dengan daun ubi jalar kami menggarap ladang-ladang demi revolusi. Kupikir kalau saja revolusi kebudayaan benar-benar dijalankan sampai selesai, tentunya kami semua sudah mati kelaparan. Heng, 50 Kutipan di atas memerlihatkan gerakan yang dilakukan Mao Tse Tung dalam menekan kapitalisme yang malah membuat rakyatnya melarat.
Hal yang sama terjadi pada cerpen karya Gao Xinjian yang memerlihatkan kemelaratan rakyat akibat binatang ternak mereka sebagai aset pribadi yang dianggap oleh Mao sebagai ekonomi individualistis yang mencerminkan kapitalisme dimusnahkan.
Namun efeknya justru merugikan kehidupan perekonomian rakyat kecil, sementara itu mereka dipaksa untuk memajukan sektor pertanian dengan fasilitas dan kehidupan yang kurang layak. This does not come as a surprise. I know that in the wilderness there is often little sign of human settlement, only wolves. The cunning animal at the window frame stands up like a person, resting its head on its right forepaw and watching me out of the corner of its left eye.
All around, the wolves loudly smack their long tongues; they are losing patience. Between each shot, I must work everything out n my mind. The wolves roar with laughter, hooting and guffawing These Zhang the Thirds are only people dressed as wolves, playacting.
Kemudian dengan menggunakan majas personifikasi, narator menggambarkan serigala tersebut tertawa dan berteriak seperti manusia: The wolves roar with laughter, hooting and guffawing. Selanjutnya pada akhir kalimat narator mengungkapkan sendiri identitas serigala tersebut adalah manusia-manusia yang berpakaian seperti serigala dan bersandiwara: These Zhang the Thirds are only people dressed as wolves, playacting. Dengan kata lain, Xinjian menggunakan metafora dan personifikasi tersebut untuk mengungkapkan fakta sejarah dan kritiknya terhadap tindakan yang dilakukan pasukan Mao Tse Tung yang merugikan rakyat kecil.
Hal ini direpresentasikan lewat kutipan berikut: I see my grandfather sitting on a small wooden stool, his back hunched, sputtering on his pipe. I go right up to him and call again, Grandfather! He turns around but is no longer holding his pipe. Tears stream from his ancient eyes, which seem bloodshot from smoke. In winter, to get warm, he always liked to squat by the stove and burn wood.
Why are you crying, Grandfather? I ask. He wipes the snivel with his hand. He is wearing old cloth shoes with thick padded soles that my grandmother made for him.
Without saying a word, he looks at me with his bloodshot eyes. He grunts deep in his throat but without any enthusiasm. All these memories are making noises in the sand under your feet. Xinjian, 77 Kutipan di atas memperlihatkan luka yang dirasakan oleh rakyat kecil yang hidup pada masa revolusi budaya. Sebab jika melihat konteks zamannya, pada masa itu adalah hal yang buruk jika memperlihatkan kritik atau ekspresi ketidaksenangan baik berupa kesedihan akan pemikiran dan peraturan yang ditetapkan oleh Mao Tse Tung.
Namun kalimat tersebut memperlihatkan kekosongan dan luka hati yang mendalam dari kakek. Dengan kata lain, bahkan tidak adalagi satu apapun yang membuat kakeknya merasa bahagia akibat tekanan yang didapat selama revolusi kebudayaan. Penjabaran yang ketiga adalah pandangan dunia atau sosial yang menaungi karya sastra tersebut pada saat diciptakan.
Peserta didik dapat mencari referensi sejarah dimasa karya tersebut dibuat untuk mengetahui pandangan dunia seperti apa yang menaunginya. Mari kembali menganalisis cerpen karya Gao Xian Jian. Pada masa sekitar cerpen ini dibuat sedang berkembang sastra luka yang menjadi bagian dari sastra pasca revolusi.
Meninggalnya Mao Tse Tung pada berdampak besar pada kebebasan pengarang dalam menyampaikan idenya terutama mengenai kritik pemerintahan di masa rezim Mao Tse Tung dan efek yang ditimbulkan di masa sekarang. Aspirasi yang umumnya disampaikan pada masa itu adalah kritik dan ekspresi 'luka' akan tragedi masa revolusi kebudayaan di mana pada cendikiawan dituduh sebagai 'golongan kanan' karena memberikan kritik pedas terhadap rezim Mao Tse Tung.
Dengan kata lain sastra pada masa pemerintahan Mao Tse Tung anti kelas borjuis dengan pemikiran yang cenderung "ultra kiri". Yu dalam Wuryandari, Namun kebebasan dalam menentukan tema bagi pengarang semakin menyeruak dengan naiknya Deng Xiaoping sebagai pemimpin menggantikan Mao Tse Tung.
Deng pada kongres ke-4 pengarang dan Seniman Cina Oktober dan November berpendapat bahwa pengarang harus diberi kebebasan penuh untuk menentukan tema dan penyampaian karyanya merujuk pada pertimbangan estetis. Jadi pada masa tersebut merupakan 'kebangkitan kembali masa kesusastraan Pasca-Gerakan Empat Mei. Yang dalam Wuryandari, Dengan kata lain kelas borjuis kecil dalam hal ini kaum cendikiawan seperti pengarang pada masa itu mempunyai kebebasan lebih untuk berekspresi dan menyatakan fakta apa yang terjadi.
Dalam situasi seperti ini, kelas sosial pengarang berada dalam posisi yang bebas menyalurkan aspirasinya. Keadaan pengarang sebagai kaum borjuis pada masa Mao Tse Tung dibatasi kebebasannya dalam mengarang. Sehingga Struktur sosial yang demikian mendorong pengarang untuk mengekspresikan rasa luka sekaligus kritiknya atas rezim tersebut. Cerpen ini mengekspresikan pandangan dunia yang demikian sebagai implikasi dari masa lalu yang mendeskreditkan posisinya sebagai pengarang.
Keadaan yang membuatnya tidak dapat menjadi diri sendiri seperti yang tersirat dalam kutipan berikut ini di dalam cerpen: Who are you talking with? That boy without clothes? A naked soul.
I hope so. Otherwise this world would be too lonely. Are you lonely? In this world, yes. What other world is there? Do you have an inner world? Ia seperti melihat sosok dirinya pada masa kecil.
Kutipan tersebut memperlihatkan kekosongan jiwanya di dunia yang dijalaninya sebagai dunia nyata. Kalimat terakhir, Do you have an inner world?
Hal ini sangat berhubungan dengan kehidupan nyata pengarang di mana pada masa itu di dalam struktur sosial, pemerintah memegang kuasa yang totaliter. Sehingga posisinya sebagai kaum borjuis disingkirkan dengan cara memosisikan mereka sebagai kaum proletar agar tidak dapat berkarya dan menjadi apa yang Ia inginkan.
Hal ini dibuktikan dengan riwayat Gao Xinjian sendiri yaitu pada masa Revolusi budaya Gao dikirim ke kamp pendidikan ulang. Gao terkenal di Cina sebagai pembangkang terhadap pemerintahan di negerinya, karya-karyanya dilarang di Cina Smith: Dia terpaksa membakar banyak karyanya dan bekerja keras di sawah- ladang.
Selama itu Ia dididik dengan ideologi proletar, namun pada masa itu Gao tetap menulis secara diam-diam. Bouwman: Kesimpulannya, dengan menerapkan teori strukturalisme genetik Lucien Goldman, ditemukan bahwa cerpen Buying a Fishing Rod for My Grandfather mengekspresikan pandangan dunia yang diyakini oleh kaum cendikiawan borjuis yang pernah hidup dalam masyarakat dengan struktur sosial yang didominasi oleh penguasa yang pro kaum proletar namun fundamentalis.
Namun struktur sosial yang digeluti kaum cendikiawan pada masa cerpen ini dibuat memungkinkan mereka untuk bebas menyalurkan aspirasi lewat karya yang mereka buat.
Revolusi yang pada akhirnya hanya menyebabkan kemiskinan, kemelaratan dan luka yang mendalam bagi rakyat Cina pada masa karya tersebut dibuat. Simpulan Melalui contoh analisis strukturalisme genetik di atas, dapat dilihat adanya kaitan antara karya sastra dengan sejarah.
Hal ini dapat mendorong peserta didik untuk lebih mengetahui sejarah, baik bangsanya sendiri ataupun dunia. Selain itu, penerapan teori ini diharapkan dapat membuat wilayah analisis karya sastra menjadi lebih luas. Majalah Kreasi, Gao Xingjian - Biographical". Nobel Media AB Yogyakarta: Pustaka Pelajar, Jakarta: PT.
Pustaka Utama Grafiti, Ming, Wang. Nurgiyantoro, Burhan. Teori Pengajian Fiksi. Yogyakarta: Gadja Mada University Press, Smith, Alex Duval. The Independent UK. Wacana vol. Those ways can be in terms of form, for instance through oral or written communication, through literary work, or in terms of language selection for instance by using connotative leading to the use of metaphor or figurative language or denotative language. This article presents how he presents the meaning through the whole poem or what kind of devices he uses to make his intention understood by the readers and the ideology behind his poem.
To be able to analyze this poem correctly, it is very important to know his biography to find out his reasons of writing the poem, to which literary era he belongs to, to find out the characteristics of his poem. The analysis of the poem shows that there is certain ideology that he wants to convey and that ideology is the spirit of war. This statement derives from the fact that a poem rarely used denotative language; mostly a poet uses connotative language in the form of metaphor or figurative language.
Connotative language is a language that carries associative meaning as opposed to literal meaning; figurative language is the form with associative meaning, imaginative for example metaphor, personification, hyperbole Morner and Rausch The reason for a poet to use connotative language is to give more power to the words Omar Hall says that ideology is all the devices in a language used by people that are deployed to reach certain goal.
This is not easy because a word can be differently interpreted based on the culture Omar The ideology is presented through beautiful figurative language so that those who are not careful in reading it might be misled. Then recognizing analyzing the figurative language is very crucial. In relation to this difficulty, the purpose of this poem is to find out the ideology behind the poem and how the ideology is carried out. Many people have talked about this poem; among others are Evans ; Climenhaga ; Blair Although he was a doctor, when he was young he was interested in military that made him join the Highfield Cadet Corps.
In when as a doctor he was sent to South African War he was so disappointed to see that the sick and injured soldiers were treated very badly. This made him leave the military life. In he joined the World War I in which he was actively involved. He joined the war as a Canadian soldier and at that time Canada was the member of the British Empire. In April , he was stationed near Ypres, Belgium, in a place called Flanders.
During a severe fight, when he was in a trench, he saw his friend, a, twenty-two-year-old Lieutenant Alexis Helmer, was killed by artillery fire and buried in a makeshift grave. On the next day he saw wild poppies were blooming on the grave. This inspired him to write a poem called In Flanders Field that turns to be very famous. This poem has been translated into many languages. The poppy soon became known as the flower of remembrance for the men and women in Britain, France, the United States, and Canada who have died in service of their country.
McCrae died of pneumonia and meningitis on January 28, We are the dead; short days ago We lived, felt dawn, saw sunset glow, Loved and were loved, and now we lie In Flanders fields. Take up our quarrel with the foe! To you from failing hands we throw The torch; be yours to hold it high! If ye break faith with us who die We shall not sleep, though poppies grow In Flanders fields. The first stanza uses the image of poppies, crosses, larks and guns.
Poppies actually have some colors namely red, white, black and purple. Red poppies are known as the symbol of remembrance. Crosses are the symbols of graveyard, larks the symbol of cheerfulness since it is a singing bird, while a gun is a weapon used to kill. The first stanza, then, tells that there are birds flying, singing over a graveyard where the poppies grow. It seems very peaceful. However, the peacefulness is disturbed by the situation that the sound of the bird is almost unheard because of the sound of the guns below, on the battle field.
McCrae tries to conceal the fearfulness of the war by using beautiful images of poppies and larks. The second stanza presents the image that the speaker is a dead person. He belongs to a group of people who are killed in the war and buried in that graveyard. There is a very short distance between life and death.
He says that it was few days ago he was alive, but now he has been buried along with his other dead friends in the graveyard called Flanders Field. However his death does not make the war over.
How he wants the living others to react against his death is presented in the third stanza. The third stanza is a kind of call from the dead to the living people. They want the living people keep on fighting the enemies. The torch he mentions symbolizes the spirit to keep on fighting against what he considers enemies, those who have made them buried there.
He is dead and he cannot continue the war. Besides giving a call, he also utter a threat that no matter how peaceful the situation with poppies grow there , he will not be able to rest in peace if the war stops. There are many more who agree with him. The war must be kept going. Why is it very important for McCrae to keep the war going?
As it has been mentioned in his biographical note, his friend was killed in the war. To make things worse for him is that Canada which is his country actually has nothing to do with the World War I. But since Canada is the ally of Britain that was having war with America, Canada decided to send its soldiers to help the British to win the war.
At that time Canada was also in the effort to be known by the world. This idea costs a lot since many of Canadian soldiers got killed in the battle fields. Thus, the main reason for McCrae to create this poem is putting the weight of nationalism and protecting Canada from enemies, is to make revenge on the death of his friend.
In a very clever way he structures this poem so that death, graveyard, battlefields are not something horrifying. Through his poem he implies that it is the duty and it is heroic for the people to get killed in the war for the sake of their country.
How does he structure his poem? McCrae writes his poem In Flanders Field in three stanzas. The first stanza as the beginning presents how the poppies blowing under the bright sky. The image of bright sky derives from the lines saying that the larks are still bravely singing even though there is the sound of guns below. The larks will not fly and sing during the gloomy weather or rain. These lines present beautiful image about the situation on that particular day.
The readers will soon find out that McCrae actually talks about a graveyard in which many killed people by guns were buried. By the end of this stanza, the uneasy feeling has been initiated especially when the readers have the knowledge that poppies the red ones are used as the remembrance to those who killed in the war. The second stanza creates the feeling of sadness.
It is sad to think that only some days ago, they were still alive, feeling the love of those who were worried waiting them to come home alive, feeling anxious of being able to finish the war and going home to meet their beloved ones. However, instead of going home alive, now they are lying under the grave accompanied by poppies, not knowing if their bodies will be able to be brought home to their family. Did they die willingly? Of course not. They are not happy thinking that those enemies who have killed them will win the war.
Their feeling is shown in the third stanza. The third stanza contains the instruction from the dead that the living ones should not stop the war. The say that they pass their duty to go to war since the dead are no longer able to do it. For the dead there is no way to compromise with the enemies. They must continue the war and finally they threaten that if the living people stop the war, the dead will never die in peace no matter how beautiful the graveyard they are buried in.
If the structure of the poem is meant to reduce or even cover the terrifying effect of war, McCrae is not very successful. The images of poppies and the singing larks he use in the first stanza do not work as he expects. The poppies especially the red ones have linked up the image of the readers to the ones killed in the war, and then it seems that the dead can inform the readers that the place which has rows and which is covered by poppies is their grave.
Then there is the sound of guns that almost made the singing of the larks unheard. The answer of the curiosity is finally presented in the third stanza. The dead want revenge and pass that duty to those who are alive. Beautiful the form of the poem it seems but in term of content this poem is not educating. War will never do any good for any reason.
Both sides will lose since the victims will be from both sides. The victims are not only the soldiers, who got killed or injured both temporarily and permanently, but the wives, husbands, children, animals as well. The only ones who get benefits from war are politicians maybe and weapon dealers. The Remembrance Day that is celebrated in various countries should not have the purpose to create war for revenge; instead it should be done to remind us that war will cause a huge lost in every aspects of life.
People all over the world should understand each other and work together to create peace so that there is no more poem like In Flanders Field anymore. Conclusion The analysis of the poem In Flanders Field shows that a poet can use a poem to send a message to the readers and at the same time the poem can reflect ideology of the poet.
This poem is very famous and has been interpreted in various ways depending where the interpreters stand. The message that McCrae wants to tell is that the death of his friend must be paid by his enemies and this message is also his ideology.
A poem is known by its using figurative language as the important device. McCrae has used these devices to reach his goal and as it has been mentioned previously whether or not people agree with this ideology depends on who the persons are. Accessed 5 Juli Climenhaga, David. Accessed July 17, Evans, Vivian. Morley and K. London: Routledge. Earlier published in B.
Matthews ed. London: Lawrence and Wishart. Omar, Zaghwani Youssif. As a diaspora writer, Kwan reveals much about various matters on cultural identity faced by diaspora characters in his novel.
Kwan also argues that this condition gives the characters a chance to reposition their cultural identity to be accepted by society. To analyze this novel, a concept of cultural identity by Stuart Hall is applied. The result of this study shows that the diaspora characters in Crazy Rich Asians reposition their cultural identity for being underrepresented by West as majority, then they tend to overcome this trouble by imitating the West, and finally it leads their identity to duality.
Keywords: cultural identity, diaspora, repositioning, Stuart Hall Introduction Since many countries in Asia declared their independence from colonization, Asian writers has got chances to legalize their works as world literature. These writers have caught countless opportunities to compete with Western writers as their country is not any longer controlled by colonizer.
In world-class literary award, there can be found several Asian writers come up as finalists and winners. Meanwhile, Kazuo Ishiguro and Haruki Murakami turn out to be representatives of Japanese writers who won international literary prize.
There are many other Asian writers known as worldwide novelists, playwrights, and poets. However, most of these Asian writers portray interrelated topics in their literary works. This similarity relates to cultural experiences faced by the writers who have ever spent their life in Western countries. They are also known as diaspora writers. Therefore, diaspora characters are often portrayed in their literary works. Discussing diaspora is essential in the consequence of post-colonial world which brings Eastern people to be influenced by Western culture.
After colonization, Eastern people get various occasions to interact more with Western culture. They go to West for getting better life or pursuing greater knowledge. This condition also brings cultural interaction that makes their cultural identity instable.
Generally, a person who stays in another country which has different culture with theirs tends to adapt that new culture. It happens because they are minority in that new society. As stated by Parekh , different cultural identities in society can arise conflicts since majority has tendency to present cultural domination. Consequently, adapting culture becomes a way to get along with society. A matter of cultural identity faced by diaspora is also reflected in literary works. One of them is well-described in an international bestseller novel Crazy Rich Asian written by Kevin Kwan.
The movie was released in and became worldwide. Kwan states that his intention to write this novel is to capture more about Asia. Kwan was born and raised in Singapore, but currently lives in Manhattan. As a diaspora writer, diaspora characters are also found in his novel.
Therefore, this study is aimed to reveal repositioning cultural identity done by diaspora characters in Crazy Rich Asians by Kevin Kwan. This study engages with a concept of cultural identity and diaspora by Stuart Hall. This notion demonstrates that identity is made within the discourses of history and culture, it is not an essence but a positioning It means that cultural identity as a representation of an individual in society or as a tool for other to represent an individual.
Since identity is instable for those who experience two or more conflicted culture, they have to face identity struggle. This is a condition when an individual should struggle in order to be able to negotiate her cultural identity. In addition, Gales and Middleton reveals cultural identity as private arena placed between conscious and unconscious. It sets cultural identity as something dynamic and changeable. Identity struggle occurs to an individual who interacts with various cultures.
It happens as identity is not rigid but it is labeled in each individual. An individual will certainly shift her culture with a new one as the effect of cultural interaction so that she can be accepted by society where she lives in. Method Analytic descriptive method is applied in this study.
This method deals with literature approach by interpreting intrinsic elements in prose with historical events as the setting in the work. This method is used to uncover repositioning cultural identity done by diaspora characters through a concept of cultural identity by Stuart Hall.
This novel is chosen for being recognized as an international bestseller novel and it reflects a matter faced by diaspora individuals in this world. Meanwhile, other books, articles, news relating to diaspora are used as references in this study. This study is conducted in several stages. First, reading the novels repeated times to draw the topic of diaspora and drafting the quotations to be analyzed in the novels.
Second, getting a rich understanding about diaspora through reading numerous books, discussing with academics and individuals of diaspora community. Then, the quotations collected from the novels are analyzed to reveal a matter of repositioning cultural identity.
Next, an analysis essay is arranged toward corpus interpretation obtained. Finally, a conclusion is set to solve any matters of cultural identity faced by diaspora individuals. These diaspora characters are constantly producing and reproducing themselves anew through transformation and difference Hall, As diaspora characters, they tend to reposition their cultural identity both by coincidence and on purpose. This rep positioning identity is done for being underrepresented by West as majority, then they tend to overcome this trouble by imitating the West, and finally it leads their identity to duality.
Being Underrepresented by the West A basic distinction between East and West has been created since the era of colonization. West takes a part as the one who dominates, restructures and has authority over the East Bhabha, This construction makes Eastern people are underrepresented by Western people. For them, the east is such a alien creature as depicted in Crazy Rich Asians through a character named Eleanor.
He recognized the name, especially since the Young party had booked the Lancaster Suite. But who could imagine that Eleanor Young would turn out to be Chinese. In the Western perspective, Chinese do not deserve to get any respect for their wealth. All of this judgment is concluded by the West since they never accept the East as equal as them.
It can be shown in this following quotation: Ormsby was indignant. For him, East is lower than West. He refuses to admit the existence of Chinese as a qualified character.
That is why he keeps being rude even though the Chinese is able to communicate well in English as her second language. This establishes a condition which an East is always underrepresented by West.
Then, there are some places which symbolizes of how low Eastern people in the perspective of West. These foreigners had wasted enough of his time. However, in Crazy Rich Asians, this place seems to be a pitiless area.
The quotation above exposes that for the West, Chinatown only belongs to Chinese even though it is located in a western country. This recommendation is not a kind of helpfulness given by the West, but it is to show how they feel a Chinese as a disturbance.
Racism is also got by Chinese even though they are not unaccompanied. It shows how inferior they are. Tidak semua fitur dirancang untuk produktivitas. Ada sejumlah fitur yang disediakan hanya untuk meringankan suasana. Anda bisa menggunakan Virtual Background sebagai bahan untuk ditertawakan atau sekadar menyembunyikan kekacauan di belakang Anda. Fitur ini tidaklah sempurna, kadang-kadang jika Anda bergerak ada bagian tubuh Anda yang menghilang.
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